VSW Press is pleased to announce our latest publication, Bouquets 11-20: Notebooks by Rose Lowder, an exciting new artist book featuring direct reproductions of the notebooks of experimental filmmaker Rose Lowder. Each page is an illustrated transcription of 10 seconds of 16mm film from Lowder's Bouquets series, hand-drawn in 24-frame increments by the artist after the film has been shot.
Il s'agit de l'étude la plus complète à ce jour des relations entre peinture et cinéma dans les années 1920. Des artistes et poètes (Duchamp, Man Ray, Picabia, Malévitch, Léger, Artaud, Moholy-Nagy, Ruttmann, Desnos...) font du cinéma un chantier d'expériences. Le cinéma se fait ainsi cubiste, dadaïste, abstrait, constructiviste, surréaliste... Les notions d'avant-garde, d'expérience et d'expérimentation se trouvent donc revisitées.
Patrick de Haas a enseigné l'histoire de l'art à l'Université Paris-1 (Panthéon-Sorbonne)
Throughout his six-decade career, Tony Conrad (1940–2016) forged a unique path through numerous artistic movements and a vast range of cultural forms—from Fluxus to rock music, from structural film to public access television. Published on the occasion of the first large-scale museum survey devoted to works Conrad presented in museum and gallery settings, this richly illustrated catalogue offers an in-depth introduction to Conrad's life and career.
Part cinematic manifesto, part invoked sorcery, SOLARES serves as volcanic manifestation of what viewing, inhabiting, and reflecting images is in our existence. Meant to accompany their masterpiece The Sun Quartet, SOLARES stands as a beautiful testament to the power of poetry and its relationship to cinema and life
Pionnière du cinéma, Germaine Dulac (1882-1942) est une des grandes figures de l'Avant-Garde française des Années 20. Personnalité importante, elle initiera et sera à la tête de nombreuses organisations et, parallèlement, mènera une activité inlassable pour la défense des droits des femmes.
Dans ses réalisations, Dulac expérimente les nouvelles possibilités d'expression du cinéma. Elle réalisera une vingtaine de films à partir de 1916. La Souriante Mme Beudet (1923) et La Coquille et le clergyman (1927), d'après Antonin Artaud, sont parmi ses films marquants.
Storm De Hirsch began publishing poetry and art criticism in American little magazines in the 1950s. Her work arrived in the vacuum of American postwar poetry and with no clear affiliation. It was on the periphery of the east coast Beat movement, engaging punctuative declarations, onomatopoeia, chorus repetitions and sensual, ornithological and Cabalistic imagery. De Hirsch’s poems are shamanistic, bearing properties of the magic ritual and incantation, and her mysticism as well as her passions for new forms led her in the visionary direction of the New American Cinema.
Jeff Scher is a painter who makes experimental films and an experimental filmmaker who paints. His work is in the permanent collection of the Museum of Modern Art and the Hirshhorn Museum, and has been screened at the Guggenheim Museum, the Pompidou Center in Paris, the San Francisco Museum of Modern Art, and at many film festivals around the world, including opening night at the New York Film Festival. Mr. Scher has also had two solo shows of his paintings, which have also been included in many group shows in New York galleries. Additionally, he has created commissioned work for HBO, HBO Family, PBS, the Sundance Channel and more. Mr. Scher teaches graduate courses at the School of Visual Arts and at NYU Tisch School of the Arts Kanbar Institute of Film & Television's Animation program. He lives in Brooklyn with his wife and two sons.
In the second half of the 1970s Alfred Kaiser was entirely unknown to the film world when he went public with two films, namely A Third Reich (1975) and A Third Reich from Its Refuse (1977). Both compilation films bridge the threshold between avant-garde and documentary cinema and were enthusiastically received by audiences and film critics alike upon their release. To this day, these two closely related films occupy a place of particular significance in the history of Austrian cinema, not least due to their subject matter and compositional virtuosity.
Narrative comprehension, memory, motion, depth perception, synesthesia, hallucination, and dreaming have long been objects of fascination for cognitive psychologists. They have also been among the most potent sources of creative inspiration for experimental filmmakers. Lessons in Perception melds film theory and cognitive science in a stimulating investigation of the work of iconic experimental artists such as Stan Brakhage, Robert Breer, Maya Deren, and Jordan Belson.
This book discusses developments and continuities in experimental animation that, since Robert Russet and Cecile Starr’s Experimental Animation: Origins of a New Art (1976), has proliferated in the context of expanded cinema, performance and live ‘making’ and is today exhibited in galleries, public sites and online. With reference to historical, critical, phenomenological and inter-disciplinary approaches, international researchers offer new and diverse methodologies for thinking through these myriad animation practices.
